A vengeful `Venus in Fur' works her stage magic

/ AP

In this theater publicity image released by The Publicity Office, Nina Arianda, left, and Wes Bentley are shown in a scene from David Ives' "Venus in Fur," playing off-Broadway at the Classic Stage Company in New York. (AP Photo/The Publicity Office, Joan Marcus)

In this theater publicity image released by The Publicity Office, Nina Arianda, left, and Wes Bentley are shown in a scene from David Ives' "Venus in Fur," playing off-Broadway at the Classic Stage Company in New York. (AP Photo/The Publicity Office, Joan Marcus) (/ AP)

JENNIFER FARRAR, Associated Press Writer

When somebody seems to know too much about you, how can you tell whether that person is a crazy stalker or a god/goddess who has come to Earth to teach you a lesson?

David Ives' humorous off-Broadway play, "Venus in Fur," is inspired by Leopold von Sacher-Masoch's erotic 1870 novel. Ives has crafted a modern take on a classic tale, skillfully twisting his plot and characters in a fast-paced journey into one man's entrapment by a clever, vengeful female.

With taut direction by Walter Bobbie, Ives plays off the novel's eroticism to portray power shifts between an unsuspecting playwright/director and a young actress ostensibly auditioning for his new play, which is also based on the novel.

Wes Bentley portrays Thomas, the modern-day playwright-within-the-play. Thomas is holding auditions to cast the role of 19th-century seductress Vanda, who was ultimately revealed in the book to be a vengeful Aphrodite/Venus.

Arriving late and cajoling Thomas into a private audition is Wanda, a nubile, seemingly clueless actress played with deft comedic timing and poise by Nina Arianda.

Thomas mocks her speech and ignorance, but after she persuades him to read the part of Severin, his masochistic 1870s leading man, he's surprised by Wanda's increasing command and knowledge of her sophisticated character and subject matter.

Wanda suggests improvements to Thomas' script and direction, delves into his motivation and psyche, and eventually challenges his sexist attitudes and the play's very premise. Lured by her erotic actions, Thomas fails to see that she's leading him into a trap.

Arianda delightfully bounces between the shallow, contemporary Wanda and the aristocratic, late-19th-century Vanda, and provides possible glimpses of an angry goddess. She handles her cat-and-mouse game and multiple characters with charm and aplomb.

Ironic use of flashing lights and thunderclaps, part of Peter Kaczorowski's lighting and the work of Acme Sound Partners, provide frequent reminders that a goddess may be on hand. Anita Yavich's richly detailed period garments and fetish costuming brighten the authentically drab rehearsal room created by John Lee Beatty.

Although the audience can see Thomas is being led astray by his own blind gullibility and sexism, that knowledge only adds to enjoyment of the play.